Vol.3, No 2, 2005 pp. 151 - 160
UDC 821.161.1.09

TOLSTOY'S MIKHAILOV, THE PAINTER OF ANNA'S PORTRAIT,
AND CONSTANTIN GUYS, BAUDELAIRE'S PAINTER OF MODERN LIFE
Slobodanka Vladiv-Glover
Monash University, Australia
The paper argues that Tolstoy's Realism does not rely on a mimetic representation of 'reality'. In  Anna Karenina what operates is a poetics of the 'gaze' (what Lacan called 'le regard'), which resonates with the poetics of an artist like Constantin Guys, whom Baudelaire called 'a painter of modern life.' While not claiming that Tolstoy based his Mikhailov on Guys, the paper uncovers parallels between the painter as (Foucault's) 'archeologist' or local historian and Milhailov's artistic method based on the recovery of memory as trace and interpretation of signs.
Key words:  Tolstoy, Anna Karenina, Baudelaire, Contantine Guys, Lacan, the gaze, Foucault, Archaeology, Les francais peints par eux-memes, Russkie spisannye s naturi russkimi

TOLSTOJEV MIHAJLOV, SLIKAR ANINOG PORTRETA I
KONSTANTIN GIJZ, BODLEROV SLIKAR MODERNOG ŽIVOTA
Tolstojev realizam nije baziran na mimetičkom slikanju 'stvarnosti'. U romanu Ana Karenjina prisutna je operativna poetika 'vidjenja' (ono što je Lacan nazvao 'le regard'), koja je u skladu sa poetikom stvarnog umetnika, Konstantina Gijza, koga je Bodler nazvao 'živopiscem modernog života.' Iako se ne tvrdi da je Tolstovljev Mihajlov baziran na Gijzu, u radu se otkrivaju paralele izmedju umetnika kao 'arheologa' (Foucault) ili lokalnog istoričara, i umetničkog stila Mihajlova, koji se osniva na rekuperaciji sećanja i interpretaciji znakova.
Ključne reči:  Tolstoj, Ana Karenjina, Bodler, Konstantin Gijz, Lakan, Vidjenje, Fuko, Arheologije, Fracuzi u svom sopstvenom vidjenju, Rusi kako vide sami sebe u naturi